8. Psychoacoustics

© M. Zollner 2004 - 2009

8-40

8.4

The consonant and dissonance

although each musician believes to know what a

dissonant chord

there is a Physika-

Hydraulic description heavy. The Pythagoreans regarded the octave, the fifth and the

quart as consonant (Symphonic), and all other intervals as dissonant (diaphonisch).

With a special feature:

Every now and then to the astonishment of the modern evening landers

also the large second as the consonant. This has its foundation in the very different

kind of melodic consonant term: consonant is what is easy to take

(

Simbriger /

Toe linseed

). Another explanation would be the size of second should not too far away,

they were the fruit of the "holy wedding" (Fig. 8.6), and thus through the findings

A "high culture" sanctioned.

Apparently there are several types of the consonant. As a synonym is often well sound,

merger, peace and relaxation. To play on a piano in the center position at the same time

two tones in the quint distance to merge both to a harmonious sound. The in-

The sounds "may", they sound great together and nothing else is con-sono. Very

different behavior are two tones in the semitone distance: the artist hears formally your counter-

One ever fight, the signal theorist notes variations of the psycho-

Akustiker roughness, the musician dissonance.

Early was from the nominal attribute harmony with an ordinal attribute: in two sounds

should not only be described if

you very well (konso kidney), but also how

well you harmonize - in the sense of a ranking order. In the 13. Century,

franco of Cologne

A

Five-step scale on (K. = the consonant, D. = dissonance):

Perfect K.

Medium-sized K.

Imperfect K.

Imperfect D.

Perfect D.

Prime

octave

fifth

fourth

major third

minor 6th

small Third

great 6th

seconds

seventh

the high level of harmony with a fifth was already evident from Fig. 8.2: In Part tonspektrum he-

There is a close relationship. The 3., 6., 9., etc. harmonic of the lower tone has the same

frequency as 2., 4., 6., etc. harmonic of the higher tones. Just tuning and dispersion

free wave propagation. What was more natural than from the similarity of the harmonic-

Spectra of two tones laws for the formation of the consonant and dissonance drain? For example:

•

The more common part sounds, the greater the consonant. Or:

•

The easier the frequency ratio, the greater the consonant.

However also cautious rearguard action: "Essential are only the odd-numbered

part Tone". Or: "The 7, 11, 13, 14 and 17. Harmonic are excluded". Or: "The

fourth is a view dissonance". Or: "There are of great chords dissonierende

good sound". Or: "In the context obtains an konso nier end interval is very often disso-

Nanten sense". Very current Haun Shield New Harmony (1998): "In general can be-

That is the human understanding of the consonant and dissonance always

more in favor of the dissonance moves. This means that at the present time more and

longer intervals and chords as consonant, perceived to be the earlier certainly as dis-

Sona differences were classified. Only the intervals with a so-called halftone-

Friction (and small second major 7th) will be counted as a truly dissonant."